Calibration 2g.6 — validation humaine du tagging

Rapport · Re-roller

Legende des roles

RoleDefinitionExemple Brihaddesi
mainVers principal du texte (le contenu canonique de l'ouvrage)धैवतश्च निषादश्च गीतौ तुम्बुरुणा स्वरौ ॥७८॥
annotation_inlineCommentaire interligne en petits caracteres (variante manuscrite, glose)मत्सरी / अङ्धी / ₹क
editorial_bracketAjout editorial entre crochets [...] OU note avec marqueur ° / ॰[२. शुद्धाः, विकृताः...] / [अनु ॰ ११५]
footnoteNote de bas de page (au bas de la page, separee du texte)<sup>१३५</sup>षाडवा:
page_headerEn-tete de page (titre du livre, en haut)BRHADDESI
page_footerPied de page (texte au bas, sous le contenu)(texte de pied de page)
page_numberJuste le numero de page, isole (en haut ou en bas)181 / 70 / 46
section_headerTitre d'une section ou sous-section dans la page[२. आर्षभी]
captionLegende d'une figure ou tableauFig. 1 : svaramaṇḍala
list_itemItem d'une liste enumere1. ... 2. ... 3. ...
tableLigne d'un tableau de donnees(colonnes alignees)
verse_numberNumero de verset isole (souvent entre dandas)॥१९०॥ / ॥७८॥
unknownNon classe (l'algo n'a pas su decider)—
5 demi-pages random (seed 21431). Si role auto correct → ne touche rien. Sinon → dropdown. Click sur image pour zoom plein écran. Bouton ? en haut à droite = légende.

vol_II_p161 RIGHT — 46 lignes

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1 ٠ page_number
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2 <b>VIMARŚA</b> page_header
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3 305 page_number
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4 central part of present Madhya Pradesh. The special preference for Mālavā main
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5 requires further investigation. annotation_inline
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6 29. The word gamaka is used here in the sense of vocal embellishments list_item
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7 including shakes; it is not restricted to shake. list_item
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8 30. See note 22. list_item
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9 31. Each grāmarāga is said to be born of one or more jātis. list_item
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10 32. Pūrvaranga has been described in NS IV and V; it embodies list_item
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11 instrumental rendering, song, dance, dialogue etc. presented as a preliminary list_item
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12 to drama. It has both ritualistic and psychological value as it ensures the list_item
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13 success of drama by propitiating the gods and prepares the audience for list_item
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14 being receptive to drama. list_item
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15 33. Kākalī and antara are always prescribed to be sparse, but here only list_item
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16 the sparseness of gandhara is prescribed, although both antara and kakali are list_item
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17 present. It could be construed that gandhara stands for the original list_item
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18 gāndhāra and not antara. See note 91. list_item
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19 • annotation_inline
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20 34,35. The prescription of a specific varņa and alankāra in a rāga is list_item
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21 not easy to comprehend. It could only be surmised that the peculiar form list_item
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22 of a raga in some cases becomes manifest in ascent, in other cases in descent list_item
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23 and similarly a specific alankāra could be assigned to a rāga on account of list_item
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24 having a special role in establishing the same. list_item
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25 36. Mārga literally means path; it stands for the span of a tāla. NŠ list_item
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26 describes three mārgas of each tāla, citra being the shortest, vārtika or vṛtti list_item
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27 being its double and dakṣiṇa again being its double. Our text describes two list_item
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28 additional mārgas viz. dhruva being half of the length of citra and śūnya list_item
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29 being half of dhruva. (See Vol.I. Anu.113) list_item
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30 37. Kalā has many meanings; the main ones are-firstly, the time-unit list_item
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31 that is equal to a guru i.e. two mātrās of tāla, secondly, the 'action' (kriyā) in list_item
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32 tāla, sounded or unsounded and thirdly, the unsounded action. Here the list_item
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33 first meaning is relevant because the length of kalā depends on the mārga in list_item
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34 use at a given time. list_item
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35 38. Caccatpuța is the first among the five tālas described in NŠ XXXI. list_item
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36 This is the only caturasra (lit. square) tala, being composed of four kalas or list_item
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37 eight mātrās. list_item
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38 39. Garbha-sandhi is the third among the five sandhis or junctures in list_item
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39 drama described in NŚ XIX; the first two being mukha and pratimukha and list_item
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40 the last two being vimarsa and nirvahana. Garbha literally means 'womb', list_item
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41 the inside or interior of something. In drama garbha-sandhi stands for that list_item
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42 juncture where the 'sprouting' of the 'seed' has taken place, but the fruit list_item
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43 is still enshrouded in the 'garbha'. list_item
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44 40. Our text does not uphold the relationship of any raga to both the list_item
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45 grāmas; the decision always rests with the interval of pañcama, if it is list_item
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46 composed of four śrutis, then relationship with ṣadjagrāma is confirmed and list_item
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vol_I_p025 RIGHT — 34 lignes

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1 33 page_number
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2 <b>TRANSLATION</b> page_header
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3 (Anu. 18) annotation_inline
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4 But why are (vowels) beginning with ākāra 21 accepted out of fourteen 22 main
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5 svaras? Truly has this been said. These have been accepted because of their main
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6 uncommonness. Their uncommonness is because of their movement in upward main
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7 sound.23 Or, the svaratva of vyanjanas beginning with şadja has been spoken of. main
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8 But .... this is said to be only a sign 24 (by convention), that is to say, (the names main
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9 of svaras) are the paribhāṣā 25 (list of abbreviations or signs) used by ācāryas main
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10 (teachers). annotation_inline
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11 [The fourfold-ness of svaras according to kinds beginning with vadin ] editorial_bracket
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12 (Anu. 19) section_header
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13 Now I show the fourfold-ness of svaras, that befits the occasion or context. main
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14 That is thus - annotation_inline
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15 Vādin 26 is so because of vadana 27 (speaking), like the master. The main
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16 saṃvādin<sup>28</sup> is so because of saṃvadana<sup>29</sup> (supportive speaking), like the minister. main
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17 The anuvādin<sup>50</sup> is so because of anuvadana<sup>51</sup> (following or obedient speaking) main
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18 like the attendants. Vivādin 52 is so because of vivadana 53 (opposite speaking), main
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19 like the enemy. annotation_inline
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20 (Anu. 20) section_header
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21 But vadana and the like are the nature (dharma) of living beings, how are they main
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22 possible in insentient svaras? Truly has this been said. Vadana is here intended to main
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23 mean the exposition of raga 34 (melody-matrix), not talking. What does it (vadana main
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24 and the like) expound? It produces the ragatva 35 of raga.36 Those vadin svaras main
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25 are only seven. That vādin should be understood as tenfold like the amśa.57 The main
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26 vādi-maņdala (cycle of vādins) is thus - sa, ri, ga, ma, pa, dha, ni. main
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27 (Anu. 21) section_header
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28 The samvadins should again be understood according to the interval of main
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29 thirteen and nine śrutis, when there is sama-śrutikatva 38 (equal interval of the main
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30 two svaras concerned, in terms of number of śrutis). What indeed is that main
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31 samuāditua? The carrying forward or accomplishment<sup>59</sup> of the rāgatua of rāga main
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32 1 page_number
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33 produced by the vādi-svara is indeed samvāditva (the nature of samvādin). The main
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34 samvādi-mandala is thus — main
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vol_II_p115 LEFT — 32 lignes

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1 212 page_number
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2 BRHADDESI page_header
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3 [९. दोधक:] editorial_bracket
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4 ररअर्धं गीत्वा परार्धं तु तस्योपरि ततस्वरम् ॥३९१॥ main
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5 परार्थ annotation_inline
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6 अर्थ annotation_inline
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7 ततापरि annotation_inline
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8 ॰स्वरा(?) annotation_inline
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9 [१०. तोटक:] editorial_bracket
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10 <sup>1</sup>/<sub>1</sub>[.....] editorial_bracket
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11 [११. वस्तु] editorial_bracket
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12 यत्र पाटाश्च तेत्राश्च शेषं भवेत् ततस्वरम् । main
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13 ततो परी annotation_inline
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14 . . . . annotation_inline
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15 देशीगीतेऽपि वस्तु स्यात्राटकेऽपि प्रयुज्यते<sup>१३</sup> ॥३९२॥ main
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16 [१२. क्रौञ्चपद:] section_header
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17 गीतस्तु प्रतितालेन पदस्वरसमायुत:। main
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18 ॰(ना?ता)॰ annotation_inline
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19 मतः क्रौञ्चपदो नाम स तु गान्धर्ववेदिनाम् १४॥३९३॥ main
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20 [१३.हंसपद:] section_header
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21 संस्कृतं पादमेकं तु द्वितीयं देशसंयुतम्। main
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22 सप्रासं गीयते यत्तद् गीतं हंसपदं विदुः १५॥३९४॥ main
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23 यम annotation_inline
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24 [१४.शुकसारिक:] section_header
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25 यस्तु तालपदोपेत[:] पदपाटविराजित:। editorial_bracket
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26 प्रश्नोत्तरसमायुक्तः स तूक्तः शुकसारिकः ॥३९५॥ main
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27 ॰यु(के:?क:) सदोक: annotation_inline
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28 न्तः annotation_inline
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29 [य: स्यात्] कर्णाटभाषायामथवा मिश्रितो यदि । editorial_bracket
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30 ٠ page_number
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31 + annotation_inline
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32 संवादकपदोपेत: स भवेच्छुकसारिक: १६॥ ३९६॥ main
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vol_II_p032 RIGHT — 38 lignes

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1 47 page_number
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2 TRANSLATION page_header
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3 When it (ṣāḍjī) is sung as hexatonic, then the sparseness<sup>59</sup> of ṛṣabha has to main
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4 be brought about, (and) there is abundance of the remaining svaras. main
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5 [ Anu. 147] editorial_bracket
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6 And it has ten amsas. That is thus - one suddha, five vikṛtas in the complete main
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7 state and four ṣāḍavas, because when gāndhāra is amśa, it excludes the main
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8 formation of ṣāḍava. The amśas have been written as such so that they main
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9 become clear. annotation_inline
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10 There is the state of śuddhā with ṣadja as the amśa and ṣadja is the apanyāsa. main
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11 In its sampūrņa state there are eight-fold lakṣaṇas (ṣāḍava and auḍava being main
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12 irrelevant). In the sadava state (they are) nine-fold (auduvita being main
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13 irrelevant). Ṣādjī should be known as four-fold in its vikṛtā (modified) state, main
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14 excluding (its) šuddhā (form). main
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15 And it has the <math>m\bar{u}rchan\dot{a}^{60}</math> beginning with dhaivata. (The <math>t\bar{a}la</math>) ekakala main
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16 pañcapāṇi61 (known also as uttara and satpitāputraka) in the citra main
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17 (mārga) (operates alongwith) māgadhī gīti. Dvikala pancapāņi in the vārtika main
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18 mārga (operates alongwith) sambhāvitā gīti. In dakṣiṇa mārga, catuṣkala main
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19 pañcapāṇi (operates alongwith) pṛthulā gīti. (The corresponding pattern of main
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20 tāla and gīti) should be known for all the jātis in this order. Vīra, raudra and main
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21 adbluta rasas should be evoked (lit. made). Its application (viniyoga) 62 is main
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22 (prescribed) in the singing of dhruvā(s) in the first scene (or act). main
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23 [2. Ārşabhī] section_header
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24 [Anu. 148] editorial_bracket
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25 (În ārṣabhī) ṛṣabha, dhaivata (and) niṣāda are the grahas, (they) themselves main
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26 are the amsas. They alone are apanyāsas. Niṣāda63 (?) is (the limit of the main
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27 extension of) tāra upto five svaras. Ŗṣabha is the nyāsa. Mandra extends upto main
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28 nyāsa or upto the svara next to nyāsa. There is sangati (concert) of şadja- main
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29 dhaivata and ṛṣabha-gāndhāra. Ṣāḍava is devoid of ṣaḍja and auḍuvita is main
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30 devoid of șadja-pañcama. In its complete state there is the sparseness of șadja, main
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31 gandhara and pancama. In the auduvita form, there is the sparseness of main
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32 gāndhāra and madhyama and the profusion of the remaining (svaras). main
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33 [Anu. 149] editorial_bracket
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34 And it (ārṣabhī) is ten-fold i.e., there are ten amśas. Śuddhā (is one), vikṛtās main
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35 in the complete state are three, in the sadava state are three and in the main
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36 auduva state are (also) three, thus in the complete state are three, in the main
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37 ṣāḍava state are three, thus (they are ten). The mūrchanā 64 beginning with main
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38 pañcama obtains (here). Caccatpuța is the tāla. With the ekakala (tāla) in the main
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vol_II_p113 RIGHT — 30 lignes

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1 TRANSLATION page_header
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2 209 page_number
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3 prabandha svarārtha. Karaņa<sup>5</sup> has been said to be the fortieth, combined with main
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4 five (forty-five). annotation_inline
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5 <math>(377-378)</math> main
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6 This varņasvara is known to be (numbered) forty combined with six main
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7 (forty-sixth); that which is muktāvalī should be known to be (numbered) main
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8 forty, combined with seven (forty-seven). main
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9 (379) annotation_inline
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10 Pratāpavardhana is said to be the forty-eighth. Eight combined with main
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11 forty(forty-eight) are (the prabandhas) spoken of by the muni. main
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12 (380) annotation_inline
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13 I shall speak of their characteristics in brief for the sake of scholars. They main
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14 should be sung by those adept in music in accordance with the rules related main
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15 to <i>svara-tāla</i> and the like as well as <math>r\bar{a}gas^6</math>. main
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16 (381) main
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17 [The description of Prabandhas] section_header
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18 [1. <i>Kanda</i>] section_header
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19 That which is bereft of <i>tāla</i> and is combined with <i>pāṭas</i> and <i>birudas</i>, that main
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20 is kanda, mixed with the pada (text) of the Karpāṭa<sup>7</sup> language and the like. main
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21 (382) annotation_inline
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22 Prabandhas like kanda are verily well-known in practice. main
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23 [2. <i>Vṛtta</i>] section_header
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24 There is never a regulation (or specification of tāla in) vṛtta (composed main
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25 in) āryā, dvipatha, vṛtta, gāthā, dodhaka and similarly toṭaka. The prominence main
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26 of metre has been clearly specified in them, by the munis. In the end the main
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27 placing of svaras<sup>9</sup> is (prescribed), others hold it to be devoid of svara. Others main
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28 say that it is (formed) in the vitta metre; that is also acceptable. main
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29 (383-384) main
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30 - --- annotation_inline
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180 lignes a valider — change uniquement les roles incorrects.